Opinion

On the one hand, Rattlemania in London, with a near universal critical swoon over Sir Simon and the touring Berlin Phil; on the other, strife at ENO. It’s worth musing on how both are linked by debates over the fitness for purpose of London venues.

Netrebko, Gergiev, placards, chants, protesters outside the Lincoln Center ‒ the recent activities surrounding the Met’s new production of Iolanta feel heart-warmingly familiar. The situation brings up the knotty, uncomfortable and unresolvable question of the relationship between politics and the arts, and the question of boycotting.

Behaviour rules are only elitist if you don’t tell people what they are ‒ and there are some simple steps that many of us could take which would make classical music more open. Because to newcomers, a visit to a concert hall can be like visiting a foreign country.

'The challenges facing ambitious performers and composers have never been greater and this event aims to lift the lid on the myths and mysteries of the professional music world with a view to empowering and inspiring performers and composers across all musical genres.'

The Ulster Orchestra appears to be close to securing both its immediate and longer term futures. If it survives this, that is in spite of its strategic direction in recent years rather than because of it.

In the two minutes it takes to read this column, the UK’s Creative Industries have pumped another £292,000 into the economy. That’s a staggering £8.8m an hour. Who has come up with these extravagant claims, you ask. It sounds like some cranky arts lobby getting its argument together for the next spending round. But no, these are government figures, fresh from Creative Industries Economic Estimates - January 2015.

It is our third year working with the Association of British Orchestras on the ABO/Rhinegold Awards, giving a bit of appreciation to unsung heroes working organisational magic behind the scenes. It is my pleasure to announce this year’s winners in three categories.

After a slew of suboptimal stagings at the Royal Opera, it seems a good time to mull over the artistic direction of the house under Kasper Holten, who took up his post in 2011. Is the current trough simply part of the natural up-and-down cycle which all companies go through according to mysterious and unknowable operatic laws? Or is it a sign of something more worrying?

The author of a high-profile attack on El Sistema defends his work as substantially researched, academic and peer-reviewed, whereas, he says, Tricia Tunstall's account was based on 'set-piece interviews with leaders and loyal lieutenants'. No wonder their conclusions are different, writes Geoffrey Baker.

I watched the recent accusations against El Sistema, the long-standing Venezuelan programme aiming to lift young people from poverty and into orchestras, with a real feeling of sadness. Whatever the circumstances in that particular case, what a shame that it takes a scandal, or at least an accusation, to get music-making into the news headlines.

After all, things are likely to get harder before they get any easier with further cuts across the board expected whoever wins the May 2015 election. There are challenges ahead ‒ but we can take heart in the knowledge that the sector has proved itself resilient over the years.

It’s not every night you see Help Musicians UK executive director David Sulkin OBE in a pork pie hat and natty scarf gracing a stage peppered by red spotlights with an exotic drum kit lying in wait. The organisation is keen to make the point that it is there for all musicians, and what better way to demonstrate that than with a boozy party at London’s ICA.

As the second half of the recital given by baritone Christian Gerhaher and pianist Gerold Huber began in the Wigmore Hall on 19 December, I did something that may have put me in the boring old fart category.

When the news came through of Darren Henley’s appointment as chief executive of Arts Council England, cries of ‘of course’ could be heard across the country. The Conservative-led coalition now has its own appointees in place as ACE’s chair and chief executive. What can we expect?

Tricia Tunstall: 'Baker argues that orchestral practice is not a viable pathway to social inclusion. Against this contention, I can simply invoke my own vivid experience of orchestral engagement in Venezuela: children excited by sonic grandeur and highly motivated to help one another, conductors encouraging cooperative endeavour, young people proud of their collective accomplishment.'

Although budgets everywhere now are tight, to punish hard-pressed arts organisations which have worked their socks off to meet all the demands made of them by public funders doesn’t exactly inspire confidence in the system.

No one is pretending that learning an instrument is easy, but it need not be a demotivating uphill struggle for a distant goal that is difficult for a young child to appreciate. Why shouldn’t the learning process be an enjoyable activity?

They say that if you remember the sixties you probably weren’t there, but Nash Ensemble founder Amelia Freedman has very distinct memories, and proof that she was there is now being celebrated in a rather special golden anniversary. Plus: Opera Danube and an orchestral Brief Encounter.

After the relative quiet of summer, and though the clement weather persists, government and music organisations are emerging from estivation and making news happen. And would you believe it, it’s not all good, though some of it is only subtly bad.

Since 1999 there has been a plethora of positive political and sector-led initiatives and research activity. Add to these the deepest recession in the UK for many years and now seems an appropriate time to look again at what is happening to musical instrument teaching and learning today.

At precisely the same moment, two things arrived on my desk: a bag of jam doughnuts and an email saying the government had given up on its daft notion that local authorities should stop funding music services. Spooky, or what?

It was September 1976 when it all kicked off, and we’ve rounded up a few people who were there, if not at the birth, then certainly in the magazine’s youth. Not least André Previn, who was on our first ever cover towards the end of his LSO tenure, and who graciously agreed to talk to us and reminisce about his London years, when the orchestra was a boys’ club and he was tabloid fodder.

'Unless you're one of the big beasts of contemporary music, it seems impossible to make a living entirely through new commissions. For the majority, writing new music is but a single ball to juggle in the circus of freelance employment.' Following the release of Sound and Music's latest commissioning report, composer Danyal Dhondy talks about the day-to-day life of a composer.

Graham Sheffield: 'From one day to the next, the music can stop, whether that’s due to physical or psychological health problems or a life crisis. And few musicians have the resources to keep an emergency cash cushion tucked away.'

'Although it wasn’t easy, back in the late 1980s, to convince the Charity Commissioners that a recording company of the kind we envisaged was hardly likely to make a profit, our early accounts soon disabused them.'

Possibly the most amazing thing about the Arts Council’s announcement of funding for the next three years was that any of us could figure it out. Faced with a 23-column spreadsheet filling 14 A3 sides with tiny print, our first challenge was to discover which national portfolio organisations had been dropped. A basic question, you might think...

The more eagle-eyed and numerologically inclined among you may have realised that our issue number, on the contents page, has been creeping up inexorably towards four figures. This one is 999 and September will be our thousandth, so we’ve got a bumper issue coming up where we will allow our usual newsy and forward looking mind-set to slip a little.

I was delighted when my string quartet was invited to appear at a rather prestigious chamber music festival. We arrived at the airport, which we had been assured was by far the nearest to the town in which the festival was based. We made our way to the train station, conveniently situated within the airport itself, to buy our tickets. It was then that we discovered that the journey was going to take three-and-a-half hours...

Isn’t there a received wisdom that concert audiences are more senior, and also that if you programme contemporary music you alienate a swathe of potential customers? Not if you choose to perform in a warehouse in Hackney, says Ronald Corp.

There is an astonishing geographical range at this year’s Proms. This multi-cultural diversity is breath-taking but it appears to be at the expense of some British regional orchestras, towards whom the BBC maintains a selective policy, says Philip Borg-Wheeler.

When the director Quentin Tarantino declared that ‘cinema is dead’ at the Cannes Film Festival last month, he pointed an accusing finger at the very thing that many in the opera world had been hoping would boost the form in its traditional live incarnation. A digital revolution in the last half-decade has seen unprecedented growth in the number of opera houses and theatres whose work can now be seen in cinemas alongside the latest Hollywood blockbuster.

The latest rounds of European and UK local government elections have brought the issue of immigration to the forefront, with media coverage amplifying the anti-immigration rhetoric in particular. But the increasingly xenophobic edge to the political debate should sound out of tune to musicians, whose work not only lends itself to but thrives on international collaboration.

The fact is that more glamorous and prestigious organisations are a more attractive proposition for private and, even more so, corporate philanthropy. Surely that isn’t a controversial position. If fundraising becomes such a slog that your spending on doing it begins to approach what you’re bringing in, isn’t it at the very least a hugely inefficient way of running things?

Norman Lebrecht seems to have a thing about music industry string-pullers who stain the purity of art in their pursuit of money and influence. So it shouldn’t be any surprise that on his widely read Slipped Disc blog he’s weighed into the awarding of MBEs to Martin Campbell-White and Robert Rattray, artist managers at the Askonas Holt office who retired recently after a combined eighty years in the profession.

By the time he got to announcing his final Proms season, departing Radio 3 chief Roger Wright had had enough of people wondering why he’s leaving one of the biggest jobs in music to go off and run a seaside festival for two weeks each June. Leaving aside the slight on the year-round activities of Aldeburgh Music, quite rightly deemed a National Centre of Excellence by the Arts Council, to judge from some of the comments you would think he had opted to go off and run a whelk stall on Brighton Pier.

If you read my article in the May issue about Sir Antonio Pappano’s Roman band, the orchestra of the Accademia di Santa Cecilia, you may have detected a hint of enthusiasm, particularly about its sister symphonic chorus. What makes the choir special, and a rare luxury, is that it is made up of professional singers. Don’t get me wrong, we have some marvellous symphonic choruses in this country populated by amateur singers, as well as some excellent professional chamber groups.

For musicians, the inter-library loan system has been vital in helping performing groups find orchestral and choral sets to which they might not otherwise have access. (Making Music says 45% of its 3,000 members source music through a public library, around a quarter of the total market.)

Of all the arts created by man, music alone is the only truly universal language. It requires no words or explanations and has the capacity to move the hearts and souls of people irrespective of nationality, colour, religion or politics. The music industry therefore, in common with other sectors of the creative community, has an essential need to maintain a robust and disciplined copyright environment which respects the rights of individuals and companies to earn income generated by the success of their creative endeavours driven by talent and hard work.

Have we finally heard the death knell of the composer biopic? Another summer has come and gone and once again Vivaldi has not materialised. Rumours suggest that, despite a starry cast and a pretty good soundtrack by some dead Italian guy, the film has been cancelled. Great.

When Romeo Castellucci heard Gluck's Orfeo ed Euridice on his car CD player, the vision that flashed into his mind immediately was of a young woman lying in a hospital bed in a coma.
So when he was invited to stage the original version of the work for performance in Vienna by B'Rock, members of the Arnold Schoenberg Choir and soloists, he realised that vision.

When we made the big change from fortnightly to monthly back in January 2013 the main impetus was that we had no hope of staying ahead of the news cycle when even daily newspapers struggle. Never have the vagaries of print journalism been brought into sharper relief for me than in the last month.

When a concert ends, there are a number of ways we express our feelings, appreciative or otherwise. One of them is to write about it (why not offer some tips for the performers? They always like that!) and possibly to garnish our thoughts with stars, typically up to five of them &#8210 our stamp of approval.

When I was two years old, my parents, in their wisdom, decided to take me to the opera. I could recite Beatrix Potter’s Peter Rabbit by heart, so Mozart’s The Magic Flute was the next logical step. During the interval, my dad bought me a large tub of vanilla ice cream, so keen was he that I enjoy my very first opera. And I did. The ice cream, however, was less of a success, and during one of the Queen of the Night’s fiendishly tricky arias, my dad had to edge out of the auditorium carrying a small child covered in regurgitated vanilla mess.

Making an album to sell and make profit from is a tricky business. Without the backing of a major label such as EMI or Decca, or the financial help of a sponsor, you are faced with scrounging for favours and using personal savings. However, there is great beauty in financing your own project, says Greg Tassell.

When Professor Richard Steinitz, who founded the Huddersfield Contemporary Music Festival and was its artistic director for 23 years, wrote us his opinions on the changes at Radio 3 in recent years we thought we’d share them via our weekly email newsletter ‒ and ask readers if they would like to write in as well. The response has been quite incredible.

Running the Ulster Orchestra and the Bournemouth Symphony was not without its challenges for Michael Henson, but following the long drawn out dispute at the Minnesota Orchestra his time with the UK bands probably seems like a doddle.

We shared Professor Richard Steinitz’s article on our weekly email newsletter, asking readers to respond with their thoughts. These are the emails we have received so far. Feel free to use the comments box to join the debate.

Following the new director-general’s promise to raise the profile of arts and music, writes Richard Steinitz, it is surely time to reconsider the narrow and over-repetitive repertoire broadcast on Radio 3, especially at prime time

To quote a movie cliché, in the Scottish classical music world, the first rule about the independence referendum is you never talk about it. Few in the classical music world in Scotland are prepared discuss the issue publically, and why that might be is a bit of a story in itself.

I wonder how many in the arts community will have allowed themselves a frisson of schadenfreude at news of the culture secretary Maria Miller’s spot of bother regarding her expenses claims ‒ what a big difference the £90k in question would have made to a touring theatre company or a small regional arts venue.

There was a quiet irony that an ABO conference session on employment law should have been chaired by Simon Funnell, managing director of the London Mozart Players – ‘at least for the next eight weeks,’ he said. For two days before the session, the orchestra had put out a press release announcing that Funnell was falling on his sword to help the band cope with a major funding problem and that it was to become a player-run organisation.

When I met this month’s cover artist Patricia Kopatchinskaja, she had a warning. We privilege what is familiar to such an extent that music risks becoming ‘repeatable and boring. And dying. This is bringing us to the death of music and we need to be aware of this danger.’

Towards the end of last year I attended the British Composer Awards, where Basca chairman Sarah Rodgers opened proceedings by reflecting on the deaths in 2013 of Jonathan Harvey, Richard Rodney Bennett and John Tavener. Any loss, she said, can feel like ‘a shift in the cosmos, a rent, small or large, in the fabric of the universe we inhabit, which for a while puts things out of kilter’.

The ABO conference came to London for the 2014 event, the first time in 25 years, and it is not alone in finding its way back to the capital. The Menuhin Competition, which started life in Folkestone in 1983 and has since been as far afield as Boulogne-sur-Mer, Cardiff, Oslo and Beijing, is making its second trip to London in 2016 in honour of the legendary violinist’s centenary.

Is there anyone in the United Kingdom who has not joined a choir? Everywhere you look, people are singing their hearts out. Press releases rain down for the heavens extolling the virtues of some new choral accomplishment on a daily basis.

Did anyone else pick up on those Britten anniversary celebrations they’ve been having? I suspect even if you’d spent the past year sealed in a box you would have at least heard strains of an unmistakable melody ­ oating in the air.

I experienced a small, naive welling of revolutionary zeal when Russell Brand unleashed his blueprint for social change in front of a bewildered Jeremy Paxman. It took some more experienced commentators, including some hardened lefties...

The names of corporations, particularly those in the oil industry, have been woven into our cultural institutions, through projects such as the ‘BP Walk through British Art’, the ‘Shell Classic International’ concert series and the ‘BP Big Screen’.

This time last year I was having a good old huff and puff about the iniquities of a court decision that self-employed musicians should be paying Class 1 national insurance contributions, with the threat of demands for several years’ back payment. The maths was complicated, but the simple part was that the outcome could very well be several orchestras going out of business.

It would be hard to overstate the importance of orchestras to this industry. They form the solid core of what we all think of as classical music, around which cluster all manner of diverse forms of music making. They are a huge part of how musicians learn to be musicians, they provide employment, they commission new works and, of course, they’re hugely expensive and tend to be heavily subsidised by the state.

In more innocent days, a familiar complaint among orchestra managers was that raising cash to keep the ship afloat was taking an increasing proportion of their time. When it became clear that the situation was not going to go away any time soon, we began to see people being appointed to focus full time on attracting funds. Before long, whole departments were dedicated to the task in our bigger arts bodies.

If you went to the opera at Covent Garden in the 1980s and, like me, you couldn’t afford to sit in the expensive seats, then you entered not by the grand front entrance, but by a side door. Up a winding staircase led you, finally, to a narrow foyer in which was crammed a small bar, a rabbit warren which provided facilities for the whole amphitheatre.

Sex sells. And when it comes to tv gigs, it really does seem that looks count for much more than talent, musicianship and sheer determination. Cue Imelda Depp’s latest insight into life as a gigging musician

The on-going debate, thrown into unnatural focus by the coincidence of the composers’ year of birth, has served much more as an opportunity to explore what we appreciate about their works than seriously figuring out who is ‘better’.

With four lanes of traffic thundering over it, Waterloo Bridge is not the easiest to cross, which is presumably why National Theatre boss Nicholas Hytner fired off a 2,368-word objection to the proposed Southbank Centre development rather than popping in for a chat with his neighbours.

It was a diary clash rather than fear of the north wind that kept me off the beach when Peter Grimes got the real-life treatment at Aldeburgh on 17 June, though it is clear from the editor’s enthusiasm (page 5) that those who braved the elements were rewarded with the performance of a lifetime.

And so we know. DCMS lives on despite rumours to the contrary but will be stomaching an 8% cut for 2015/16. Within that the Arts Council itself will be facing a relatively modest 5% cut. It’s hardly a champagne moment, but with ACE having modelled plans of action for 5%, 10% and 15% cuts, it is clear that the announcement will have been greeted with sighs of relief.

Maria Miller used her first speech on the arts since taking over to urge arts leaders to ‘hammer home the value of culture to our economy’; the comment pages of the dailies went into overdrive and all manner of artistic luminaries queued up to voice their displeasure.

The RPS does history really well, and has done ever since it slipped Beethoven £100 on his death bed. But our own age has seen a shift in emphasis for an organisation that acknowledges the laurels but maintains a firm grip on the modern-day needs of the music world.

When Colin Davis was suddenly appointed chief conductor of the BBC Symphony Orchestra in 1967, those of us camped on the pavements beside the Royal Albert Hall didn’t quite know what to make of this relative unknown stepping into the patent leather shoes of Sir Malcolm Sargent.

Many of you will have been burying yourselves in the Proms guide following the recent unveiling of the 2013 season, or indeed filling in one the newfangled online planners. You have till 11 May to get your diary straight because when ticket sales open, you can be certain that the hottest tickets will fly.

A celebratory concert at St Paul's Cathedral yesterday opened the Tallis Scholars' 40th anniversary year, with Peter Philips, the group's founder and artistic director, conducting a fluid group of singers ranging from 11 to a thunderous 40.

Writing this welcome note would be a lot more fun if the good news weren’t so thin on the ground this month. The allegations of abuse by music teachers are as shocking as they are sad, and there is no guarantee that the coming months won’t see more revelations.

The sorry saga in the wake of Michael Brewer’s conviction for sexual abuse of a music student has a distinct whiff of the Jimmy Savile scandal about it. As increasing numbers of former students come forward with their stories and more and more teachers stand accused, a common theme is that the existence of this abuse was widely known.

Transparency is key to protecting both pupils and teachers, says former Music Teacher editor Clare Stevens &#8210 as historic allegations begin to expose the murky waters of abuse at British music education institutions.

Well done, brave orchestra managers, for surviving another Association of British Orchestras annual conference, held in Leeds 23-25 January. A report will appear in our March issue, but for the time being readers can rest assured that there was no rush on the defibrillators during this year’s keynote address.

I’ve been enjoying reading various responses to comments made by Max Hole, the ceo of Universal Music Group International, at the Association of British Orchestras conference towards the end of January. Most seem to have jumped to conclusions about what he said, based on a few quotes. Straw men were raised and dutifully knocked back down, in admittedly interesting and well-reasoned terms. What were off-the-cuff comments have been interpreted as if he were issuing sine qua nons for the survival of the orchestral sector or even classical music itself.

The ABO's director believes the DCMS is seen as 'low hanging fruit' in the government's austerity programme, but it's time to be honest: if you cut funding, there is inevitably going to be a decrease in activity.

The changes coquettishly hinted at by my predecessor Keith Clarke in his editorial last issue have pretty much come to fruition. The first is that, as of this issue, we are a monthly magazine. CM has been fortnightly for 35 years, and although I think the printing press was around back then, pretty much every other aspect of publishing has changed.

The changes coquettishly hinted at by my predecessor Keith Clarke in his editorial last issue have pretty much come to fruition. The first is that, as of this issue, we are a monthly magazine. CM has been fortnightly for 35 years, and although I think the printing press was around back then, pretty much every other aspect of publishing has changed.

As my old yoga teacher used to say (and Heraclitus 2,500 years earlier), the only constant factor in life is change. And it’s certainly all change here – this venerable publication is about to unveil untold wonders. At the risk of following in the footsteps of legendary striptease artist Gypsy Rose Lea, I am going to do no more here than twirl a tassle, strut my stuff and do a saucy smile. Suffice to say that over coming weeks you will be offered a spanking new website, a greatly improved news service, and a whole lot of other delights. The thinking behind it is to provide a more comprehensive facility for all our readers.

There is something faintly ridiculous about Margaret Hodge and her public accounts select committee huffing and puffing over the tax avoidance prowess of Starbucks, Amazon, Google et al. Think what you like about the moral rights and wrongs of it, no one in their right mind is going to pay more tax than they are legally obliged to.

With 200 years of glorious history behind it and an action packed bicentenary year in prospect, the Royal Philharmonic Society could easily have held a celebratory launch party where we all shouted hooray at the announcements, got stuck into the buck’s fizz and bacon butties, then headed off with a warm glow in our hearts. But the society has always had a firm grip on reality, and launching the celebratory year in a West End pub on 7 November, chairman John Gilhooly was determined that the party mood should not throw a veil over the elephants in the bar.

Flicking through some old papers the other night I came across an interview I did with Jimmy Savile in 1985 during a spell of work within the shameful portals of BBC Television Centre. If nothing else, it gives me a topical way into pondering whether George Entwistle will be the shortest-serving director general in BBC history. If he goes, there will probably not be too many tears around the music business, since for right or wrong he is held largely responsible for the lamentable mess made of the jubilee river pageant, throwing overboard an extraordinary wealth of specially commissioned music in favour of some of the most crassly shallow broadcasting ever associated with a royal event. But hold the schadenfreude.

Recent comments

Geoffrey Baker: 'We need ethically and pedagogically sound music education, not music education in any form'Tricia Tunstall It seems that Mr. Baker and I are at an impasse regarding “authentic scholarship.” His insults to my book include the accusation that it “lacks any discernible grounding in scholarship.” I have never claimed to have written a scholarly work. My book was an honest report on my experiences encountering El Sistema in Venezuela and in the U.S. I have great respect for scholarly work. Changing Lives is reportage, not scholarship. Mr. Baker says his book is scholarship because it includes a host of interviews and citations. However, most of his interviewees remain anonymous, making the research entirely unverifiable. (In my unscholarly book, I do attributes every quote by name.) Further, his citations are all in support of his views; there is no acknowledgment that in fact there are many people, scholarly and otherwise, who hold views opposing his. For these reasons, I cannot consider his work a model of scholarly endeavor. Regarding Mr. Baker’s assertion that my portrayal of Maestro Abreu constitutes hagiography: how seriously can this be taken, from someone who has called Abreu “the Fuhrer”? And as for his plucking out the three words “in any form” in my sentence in support of music education,...Tricia Tunstall - Jan 24, 8:59 PM

Tricia Tunstall: Geoffrey Baker's El Sistema denunciation has the feel of a vendettaTricia Tunstall Geoff Baker has chosen to attack me from a personal angle, beginning with his first, intentionally insulting sentence. I am compelled, therefore, to address his misrepresentations. To be clear: I have never once been paid by El Sistema. And I was a successful independent writer and music educator for three decades before discovering and becoming an enthusiast about El Sistema five years ago. As for “hitching” my career: Are we to understand that Baker’s crusade against El Sistema has nothing to do with building his own career? Further, I have never claimed that I am a scholar or that my books are scholarly. However, I have had a number of years of graduate study in musicology and music education, and I have great respect for the scrupulous attribution-based research and deliberate moderation of tone that characterize fine academic scholarship. I do not see these qualities in great evidence in Baker’s book. On the grounds that Maestro Abreu’s grandparents were Italian immigrants, Baker scorns my claim that Abreu and the eleven other Sistema founders were “native Venezuelans.” I believe that quite a large percentage of Americans, both North and South, would be surprised to hear that having immigrant grandparents...Tricia Tunstall - Dec 16, 5:26 PM

Tricia Tunstall: Geoffrey Baker's El Sistema denunciation has the feel of a vendettaGeoffrey Baker Tricia Tunstall is a professional Sistema advocate who has hitched her career to the program. It’s therefore unsurprising that she doesn’t like a book that reveals the program’s dark underbelly and exposes the vacuity of her own book-length press release, Changing Lives. The article above is just another piece of the PR guff in which she specializes. She is not a scholar, and her incapacity to review an academic book shines through. Yet she has the gall to suggest that my book – published by Oxford University Press, thrice peer-reviewed, and endorsed on the back cover by global authorities on music and education – “hardly constitutes scholarly discourse.” She does not even speak good Spanish, yet claims expertise on Venezuelan music education, and her understanding of Venezuelan society and history is pitiful. A point-by-point rebuttal would be like using a sledgehammer to crack a nut, so I will just point out a few examples. She claims that El Sistema sprang “from the mid-1970s anti-colonialist fervour of native Venezuelans” – making founder José Antonio Abreu sound like a Pemón Indian rather than the grandson of Italian immigrants and member of the Venezuelan elite steeped in that class’s Eurocentrism. In...Geoffrey Baker - Dec 13, 1:18 PM